Tear the club up

By MIKE MCKAY  |  August 22, 2006

As it grew, B-more seemed to be really a sample-driven music, but recently there’s been a rise  in popularity for Spank Rock and and other B-more MCs. Where do see that heading? Do you think it’s going to rely more on samples or do you think it’s shifting towards a more MC-based, hip-hop type sound?
I think the underground stuff will always be there, which is why I’m excited about this music. As much as the public embraces it, there will always be the underground base of it.

So there will always be that kind of limited-release, white-label culture.
Exactly. That will never go away because it’s such a DJ-based thing. It’s such a club music and party music, that’s what it’s meant to be. We’ve already started doing production for a major artist and major record labels and we’re not using any samples. It’s all to be able to inject the B-more sound or what we’re calling Gutter Music sound now, which is sort of the younger generation, or the next evolution of the music. On our remixes, we just did an E-40 one with Juelz Santana on it. And all the stuff I produce with my partner, Debonair Samir, who’s like a local B-more – incredible – producer.

His EPs are ridiculous.
Exactly. He’s off the hook. Him and I are very similar individuals and with even what we liked growing up, it was just the perfect elements of what we brought together, what I like and what he likes. It’s different enough and the same enough that we’re able to really make a new sound. We did the Lily Allen remix which was really awesome. So it’s like, we’re able to do that stuff, and those records are definitely true to the B-more thing, they’re not like watered down, it’s a bit more street and authentic, it’s not imitation club.

That’s actually one of the things that I think is coolest about this music. It seems like the scene you have and the crowd you get is a lot more than suburban white kids in neon t-shirts or something. It seems like you really have almost the whole city behind you on this. What’s the kinda scene that you would get at a normal night you would play in Baltimore?
Definitely a mix. A lot of kids beforehand, it was almost like there were different people coming together. People are just happy that the music is going in a new direction and there’s new outlets to go and dance to it. So there’s definitely a very mixed crowd, it’s like a party crowd. You’ll get some street kids in there, especially for us, because in the past a lot of the people that were playing the clubs didn’t have any connection to the street. You know what I mean? It was definitely going in a direction that was isolating the origins of the music, and I’m not criticizing, that’s just what was happening. Everyone is going to bring something different to the table. Look at hip-hop: you have De La Soul and you have 50 Cent, all doing hip-hop but different. What Samir and I bring to the table is that we were both coming from a real street hip-hop sentiment, and that’s where club in its origin came from. As much as it may have been comprised of rave breaks, there was nothing rave – I always say there was nothing white-boy about it.

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